In her Vibrations d’eau, we search for what we see: first, a watery sensation, composed of an infinity of drops and ripples, made sensitive, despite Leibniz's displeasure, by the artist. These animated canvases, whose iridescence interacts with light, are indeed portions of the cosmos. Doubt creeps in, ambiguity arises; upon closer inspection, the shimmering becomes geometric, water reflections stretch and grid, material concretions resemble fragmented pixel clusters; among the hues, some seem to have been mixed with delicately psychedelic acids. We shift from one hypnosis to another, into an abstraction that is no longer organic but digital, somewhere between post-digital Nymphéas and an iridescent Tetris. (…). We hesitate in front of Julie Navarro's kinetic paintings. Are we at the edge of water and its ripples, close to its trembling waves, in the fluidity of a flowing nature?
Facing the splendid debris of an unknown planet? Or, far from these visions of liquid depths and the tranquility they emanate, are we witnessing the nervous derailments of glitched screens, the madness of their crushed pixels? In her Vibrations d’eau, we search for what we see : first, a watery sensation, composed of an infinity of drops and ripples, made sensitive, despite Leibniz's displeasure, by the artist. These animated canvases, whose iridescence interacts with light, are indeed portions of the cosmos.
Doubt creeps in, ambiguity arises; upon closer inspection, the shimmering becomes geometric, water eflections stretch and grid, material concretions resemble fragmented pixel clusters; among the hues, some seem to have been mixed with delicately psychedelic acids. We shift from one hypnosis to another, into an abstraction that is no longer organic but digital, somewhere between post-digital Nymphéas and an iridescent Tetris. (…).
by Mariane de Douhet, art critic, 2023